Sura Levine exhibition review of Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Citation: Sura Levine, exhibition review of “Fernand Khnopff (1858-1921),” Nineteenth- Century Art Worldwide 4, no. 1 (Spring 2005), http://www.19thc-artworldwide.org/ spring05/233-fernand-khnopff. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Fernand Khnopff (1858-1921) organized by the Musées Royaux des Beaux-Arts de Belgique, Brussels, under the patronage of Their Majesties the King and Queen of the Belgians, 16 January-9 May 2004 Smaller versions of the exhibition at Museum der Moderne, Rupertinum, Salzburg, Austria, 15 June-29 August 2004 and The McMullen Museum of Art, Boston College, Boston, Massachusetts, 19 September-5 December 2004. The fully illustrated Fernand Khnopff (1858-1921) catalogue is available in cloth and paperback editions in French, Flemish, German, and English. 49.80 Euros 287 pages. Essays by Frederik Leen, Jeffery Howe, Dominique Marechal, Laurent Busine, Michael Sagroske, Joris Van Grieken, Anne Adriaens-Panier, and Sophie Van Vliet. "In the end, he [Fernand Khnopff] had to arrive at the symbol, the supreme union of perception and feeling." Emile Verhaeren[1] In the past decade, the Royal Museums of Fine Arts in Brussels has been the organizing institution of a small group of important exhibitions of works by some of the foremost figures of Belgian modernism, including James Ensor, Réné Magritte, and Paul Delvaux. These exhibitions were held as anniversary celebrations of the artists' births or deaths, as is often the case for a retrospective. During the spring of 2004, visitors to the Royal Museums of Fine Arts of Belgium were treated to Fernand Khnopff (1858-1921), the most recent of these major exhibitions. (fig. 1) For this retrospective, the curators did not wait for an anniversary to present the artist to the public. Instead, as Frederik Leen points out in his introduction to the catalogue, the curatorial staff decided to organize the show, initially begun as a collaborative effort with the Museum of Fine Arts in Montreal, "because we felt like doing it and because we wanted to realize it now" (p. 9).[2] The eponymous retrospective contained almost three hundred objects, of which more than 265 were by Khnopff. The remainder was comparative works by fellow Belgian and foreign artists with whom Khnopff's work formed a dialogue in the international symbolist movement. Smaller, and, as a result very different, versions of the exhibition traveled to Museum der Moderne, Rupertinum in Salzburg, Austria during the summer, and to The McMullen Museum of Art at Boston College in the fall. These latter exhibitions contained many of the important highlights of the much more complete Belgian venue. 149 Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Fig. 1, Entryway into the Brussels installation. From left to right Fernand Khnopff, Portrait of Mrs. Edmond Khnopff, 1882, Collection of the Communauté française de Belgique, on temporary loan to the Musée d'Art Moderne et d'Art Contemporain, Liège; Fernand Khnopff, Portrait of a Man (Edmond Khnopff?), 1881, Antwerp, Koninklijk Museum voor Schone Kunsten; James Ensor, Russian Music, 1881, Brussels, Royal Museums of Fine Arts of Belgium; Fernand Khnopff, Listening to Schumann, 1883, Brussels, Royal Museum of Fine Arts of Belgium. Photo courtesy Institut Royal du Patrimoine Artistique/Koninklijk Instituut voor het Kunstpatrimonium, Brussels (IRPA/KIK) [larger image] The sheer scope and depth of the Royal Museum's Khnopff exhibition allowed visitors an extraordinary once-in-a-lifetime opportunity to examine the utter richness of the artist's voluminous output. Khnopff experimented in a variety of media. Best known for his paintings and for his pastel works, Khnopff was also a masterful sculptor, photographer, frame designer, illustrator of literary texts, costume designer, and interior designer.[3] The show included both famous and completely unknown works and installed multiple versions of some subjects to document the different evocations the artist achieved through palette modifications. This was particularly instructive in the case of Avec Grégoire Le Roy. Mon coeur pleure d'autrefois (cats. 155-159). Five of the seven versions of the subject were exhibited in Brussels, the most that have been shown together until now.[4] Khnopff has long been considered the leading Belgian artist associated with symbolism. As the exhibition in Brussels made clear, despite Khnopff's training in Brussels at the Academy, his imagery makes solid use of illusionism while, at the same time, it invariably includes details that undercut any simple notion of a reality effect. Likenesses are maintained not as ends in themselves, but as the means of suggesting a combination of thought, emotion, an internal state of mind, mystery, and emblematic symbols that do not come wholly from the outside world, but instead from an internal impulsion. As a result, they evoke a desire to penetrate the work in new, often emotionally charged ways. Khnopff did this in a variety of ways. In some instances, he produced works that invigorate the image's surface as a kind of veil, while in others, he included a profusion of mysterious details—crystals, dimensional anomalies, uncanny points of view, fragmented bodies and scenes, anti-naturalistic tonalities, and claustrophobic compositions—to deepen the emotional response to a given work. 150 Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Khnopff was an immensely famous and sought-after artist during his lifetime for both his society portraits and esoteric subjects. Most of his work remains in private hands, although the Royal Museums in Brussels own many of his most celebrated paintings. As a leading exponent of symbolism in Belgium, the newest art form in Europe during the 1880s and 1890s, he was an important founding member of the Brussels-based independent exhibiting groups, Les XX (1883-1892), and its successor La Libre esthétique (1893-1914). Beginning in 1895, he was also the Belgian correspondent for the British modern art journal, The Studio. As the photograph in the entrance to the exhibition made clear, Khnopff saw himself as an aestheticized figure who, even if he was a member of the Belgian Workers Party's Art Section, projected himself as above the fray of the quotidian.[5] While he outlived the Symbolist era and by the end of his career had already fallen out of favor among the art- buying public, his art remained remarkably consistent as a painter of "sentiments."[6] In the last two decades, Khnopff has been the subject of numerous large-scale shows.[7] Nonetheless, his art remains far less renowned in the public imagination than are the works of his better-known Austrian, British, and French counterparts, especially Gustav Klimt, Edward Burne-Jones, and Gustave Moreau, with whom his oeuvre contains important affinities. For this reason, it was particularly fortuitous that The McMullen Museum at Boston College was able to bring a smaller version of the exhibition to the United States during the autumn months. The exhibition in Brussels paired Khnopff with works by these and other artists; in so doing, their works served both as a way to contextualize Khnopff's enigmatic imagery within the international symbolist era, and to document, in particular, his innovations in the creation of portraits.[8] Who Khnopff was, and the hermetic way he saw the world, became abundantly clear in the organization of the exhibition in Brussels. In broad terms, the show presents the locales Khnopff inhabited and the subjects that meant most to him. The eldest of three children, Fernand Khnopff was born in 1858 into an upper middle class family at the chateau at Grimbergen-lez-Termonde near Brussels, the home of his maternal grandparents. In the following year, the family moved to Bruges where they lived until 1866. The artist's two younger siblings—the future poet and critic Georges, (b. 1860) and Marguerite, the artist's favorite model until the early 1890s, (b. 1864)—were both born in Bruges. Although Khnopff is said to have returned only returned once, the representation of Bruges would become a central theme for him, especially after 1900.[9] Two large galleries in Brussels were devoted to Khnopff's Bruges imagery. The family returned to Brussels in 1866, and summered in the Ardennes in the village of Fosset, where they owned a sizeable property. Similarly, Khnopff's landscape and figural paintings made at Fosset formed a leitmotif throughout the exhibition. The show was organized both visually and thematically around a series of reflections or oppositions, between landscape and figural works, between society and hermeticism, between the unique object and its reworked reproduction, and between early and later works that are related visually, thematically or technically. These reflets were echoed, as well, in the ways that the show's designers chose to paint the walls. Each gallery's wall contained tonal complements both within the room, and in contrast to the galleries adjacent to it. In a nod to both the bourgeois environments in which many of Khnopff's paintings were installed, and to Khnopff's own essays on design for The Studio, several of the galleries 151 Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) were decorated with floral wallpapers that evoked William Morris' and other British Arts and Crafts designs. Some of these details were harmonious and highlighted important examples within a particular theme, while others were distracting.